"waka. Sometimes they are written in the three-line, seventeen-syllable haiku form, although the most common type of death poem (called a ""jisei"" 辞世) is in the waka form called the tanka (also called a ""jisei-ei"" 辞世詠) which consists of five lines totaling 31 syllables (5-7-5-7-7)—a form that constitutes over half of surviving death poems.(Ogiu, 317-318). Poetry has long been a core part of Japanese tradition. Death poems are typically graceful, natural, and emotionally neutral, in accordance with the teachings of Buddhism and Shinto. Excepting the earliest works of this tradition, it has been considered inappropriate to mention death explicitly; rather,"
"Fourteener (poetry) In poetry, a fourteener is a line consisting of 14 syllables, which are usually made of seven iambic feet for which the style is also called iambic heptameter. It is most commonly found in English poetry produced in the 16th and 17th centuries. Fourteeners often appear as rhymed couplets, in which case they may be seen as ballad stanza or common metre hymn quatrains in two rather than four lines. The term may also be used as a synonym for quatorzain, a 14-line poem, such as a sonnet. Poulter's measure is a meter consisting of alternate Alexandrines combined"
"in English, though it lacks the traditional 3-line, 17-syllable structure of haiku. The poem was reprinted in Pound's collection ""Lustra"" in 1917, and again in the 1926 anthology ""Personae: The Collected Poems of Ezra Pound"", which compiled his early pre-Hugh Selwyn Mauberley works. The poem contains only fourteen words (without a verb therein—making it a good example of the verbless poetry form). Pound was influential in the creation of Imagist poetry until he left the movement to embrace Vorticism in 1914. Pound, though briefly, embraced Imagism stating that it was an important step away from the verbose style of Victorian"
"Shadorma The Shadorma is a poetic form consisting of a six-line stanza (or sestet). The form is alleged to have originated in Spain. Each stanza has a syllable count of three syllables in the first line, five syllables in the second line, three syllables in the third and fourth lines, seven syllables in the fifth line, and five syllables in the sixth line (3/5/3/3/7/5) for a total of 26 syllables. A poem may consist of one stanza, or an unlimited number of stanzas (a series of shadormas). The ""shadorma"" has been used by many modern writers and is a popular"
"with seemingly trifling content. This poem is written in hendecasyllabic verse, a meter in which each line has eleven syllables and four poetic feet. Consistent with other ancient Greek and Latin works, the feet are not defined by stressed and unstressed syllables as they are in English poetry. Rather, they are marked by long (L) and short (s) forms of the vowels. Thus, a typical hendecasyllabic line has the meter However, there is some flexibility in this pattern, particularly in the first and last feet. An example of English hendecasyllabic verse has been provided by Tennyson <poem> </poem> Other artful"
"(p. 224). In a more extended analysis (pp. 231–2), he comments: The medial break in the alexandrine, though it may do well enough in French, becomes intolerable in a language with such a tyrannous stress-accent as ours: the line struts. The fourteener has a much pleasanter movement, but a totally different one: the line dances a jig. The poets Surrey, Tuberville, Gascoigne, Balassone, Golding and others all used the Poulter's Measure, the rhyming fourteener with authority. Fourteener (poetry) In poetry, a fourteener is a line consisting of 14 syllables, which are usually made of seven iambic feet for which the"
"system. The poem consists of 12 lines, divided into couplets. Each couplet contains 12 syllables, using the natural cadence of speech. The accented sounds of the words are considered tones. Only 12 tones are used throughout the poem, repeated various times. As a result, the poem achieves a rare harmony that is purely lyrical, enriching its imagery and meaning."" About this work, Allen Tate wrote: ""The new form is most interesting, the poems quite beautiful and distinguished."" Encouraged by this and other commendatory responses to her twelve-tone poems by poets, musicians, and composers including Stephen Sondheim, Bartlett continued to develop"
"can use the shorter metres, but more frequently use longer metres of 14, 15, or 16 syllables (less often 13 syllables). Since it would be difficult to use the same rhyme throughout a long poem, sometimes poems were written in stanza form, in the same metre throughout but with each stanza using a different rhyme. At the end of each stanza is a rhyming couplet of a different rhyme again. This kind of poem was known as a ""tarji'-band"" (if the couplets ending the stanzas are all the same throughout the poem) or a ""tarkib-band"" (if the couplets are all"
"Sonnet 17 Sonnet 17 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is the final poem of what are referred to by scholars as the procreation sonnets (Sonnets 1-17) with which the Fair Youth sequence opens. Sonnet 17 questions the poet's descriptions of the sequence's young man, believing that future generations will see these descriptions as exaggerations, if the youth does not make a copy of himself by fathering a child. As in Sonnet 130, Shakespeare shows himself to be hesitant about self-assured, flamboyant, and flowery proclamations of beauty. Sonnet 17 is an"
"Sicilian octave The Sicilian octave (Italian: ""ottava siciliana"" or ""ottava napoletana"", lit. ""Neapolitan octave"") is a verse form consisting of eight lines of eleven syllables each, called a hendecasyllable. The form is common in late medieval Italian poetry. In English poetry, iambic pentameter is often used instead of syllabics. The form has a prescribed rhyme scheme (ABABABAB). Although only the final two rhymes are different from the much more common ottava rima, the two eight-line forms evolved completely separately. According to the ""Princeton Encyclopedia of Poetry and Poetics"", scholars disagree on the origin of the Sicilian octave, but all agree"
"lines that hover between sixteen and seventeen syllables, of monosyllabic stem words, in individual notes or measures by Virgules, having an idiosyncratic sonnet rhyme scheme, and a complete permutation phrase, (Welchelsatz) in its first twelve lines. (a modern verse poem form has been derived from Kuhlmann's XL1 format), It is a Proteus verse form constructed so that the words can be changed without destroying its meter or rhyme .(Harsdorffer's 'Poetischer Trichter'1648 providing Kuhlmann with the model for these sonnets) The language in the poem aspires to dramatize, in purely mathematical terms, its deepest theurgic vocation in Logos; to bring Cosmos"
"English poets. Notes Sources Decasyllable Decasyllable (Italian: ""decasillabo"", French: ""décasyllabe"", Serbian: ""десетерац"",""deseterac"" ) is a poetic meter of ten syllables used in poetic traditions of syllabic verse. In languages with a stress accent (accentual verse), it is the equivalent of pentameter with iambs or trochees (particularly iambic pentameter). Medieval French heroic epics (the ""chansons de geste"") were most often composed in 10 syllable verses (from which, the decasyllable was termed ""heroic verse""), generally with a regular caesura after the fourth syllable. (The medieval French romance (""roman"") was however most often written in 8 syllable (or ""octosyllable"") verse.) Use of the"
"Lekythion A lekythion or lecythion, in classical Greek and Latin poetry, is a metric pattern (""colon"") defined by a sequence of seven alternating long and short syllables at the end of a verse (—∨—⊻—∨—). In classical grammatical terminology it can be described as a trochaic dimeter catalectic, i.e. a combination of two groups of two trochees each (—∨—⊻), with the second of these groups lacking its final syllable; or as a trochaic hepthemimer, i.e. a trochaic sequence of seven half-feet. A lekythion can appear in several different metric contexts in different types of poetry, either alone as a verse or"
"Dodecasyllable Dodecasyllable verse () is a line of verse with twelve syllables. 12 syllable lines are used in a variety of poetic traditions. Jacob of Serugh (c. 451 – 29 November 521), a Miaphysite Bishop of Batnan da-Srugh, also called 'Flute of the Spirit' who composed in the dodecasyllabic verse more than seven-hundred verse homilies, or mêmrê (ܡܐܡܖ̈ܐ), of which only 225 have thus far been edited and published. It is also used in Italian and French poetry, and in poetry of the Croats (the most famous example being Marko Marulić). In an Anglo-Saxon and French context, the dodecasyllable is"
"Decasyllabic quatrain Decasyllabic quatrain is a term used for a poetic form in which each stanza consists of four lines of ten syllables each, usually with a rhyme scheme of AABB or ABAB. Examples of the decasyllabic quatrain in heroic couplets appear in some of the earliest texts in the English language, as Geoffrey Chaucer created the heroic couplet and used it in ""The Canterbury Tales"". The alternating form came to prominence in late 16th-Century English poetry and became fashionable in the 17th Century when it appeared in heroic poems by William Davenant and John Dryden. In the 18th Century"
"writing exercise in creative writing programs and workshops. Shadorma The Shadorma is a poetic form consisting of a six-line stanza (or sestet). The form is alleged to have originated in Spain. Each stanza has a syllable count of three syllables in the first line, five syllables in the second line, three syllables in the third and fourth lines, seven syllables in the fifth line, and five syllables in the sixth line (3/5/3/3/7/5) for a total of 26 syllables. A poem may consist of one stanza, or an unlimited number of stanzas (a series of shadormas). The ""shadorma"" has been used"
"most common lengths are the thirteen-syllable line (""trzynastozgłoskowiec"" or ""Polish alexandrine""), the eleven-syllable line (""jedenastozgłoskowiec"") and eight-syllable line (""ośmiozgłoskowiec""). The rules of Polish verse were established in the 16th century. Polish metrics were strongly influenced by Latin, Italian, and French poetry. To this day originally Italian forms (like ottava rima) are written in Poland in 11-syllable lines. Accentual verse was introduced into Polish literature at the end of 18th century but it never replaced traditional syllabic metres. Today 9-syllable lines are extremely popular. They are iambic or choriambic. Syllabic verse Syllabic verse is a poetic form having a fixed or"
"every verse throughout the poem. The poems in rhyming couplets can be of any length from a single couplet to long poems such as Ferdowsi's Shahnameh, which is over 50,000 couplets long, or Rumi's Masnavi-ye Ma'navi, of over 25,000 couplets. These longer poems, known as masnavi, are traditionally written on one of seven different metres, six of which have 11 syllables, and one 10 syllables. (In practice, occasionally other short metres are found.) Of the poems with a single rhyme throughout, the two most common forms are the ghazal (a short lyric poem) and the qasida (which is longer). These"
"in fifteen syllable blank verse. Rhyming occurs rarely. The poem does not diverge from the standard political verse of popular Byzantine literature. Each line holds its own and every hemistich is carefully balanced. The poem flows, is cadential, with no cacophonies with very scarce sound repetitions. Below is an excerpt from the translation of the Escorial manuscript, lines 32-55, by E. M. Jeffreys (pp. 240–3): Digenes Akritas Digenes Akrites (, ), known in folksongs as Digenes Akritas (, ) and also transliterated as Digenis Akritis, is the most famous of the Acritic Songs. The epic details the life of the"
"Den vises sten Den vises sten ('the philosopher's stone', an editorial title for a text unnamed in its manuscript) is a fourteenth-century Swedish poem about the Philosopher's Stone. The poem is in a metre uniquely complex for medieval Swedish literature. The poem comprises twelve verses, each of 13 lines, rhyming AABCCBDEDEFFE; most lines have four stresses and either masculine or feminine rhymes, but lines 3, 6, 8, 10, and 13 (i.e. rhymes ""b"" and ""e"") have three stresses and feminine rhymes. The poem relates the characteristics of a wondrous stone, which can endow people with wisdom and strength, restore people's"
"Sonnet 7 Sonnet 7 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a procreation sonnet within the Fair Youth sequence. Sonnet 7 is a typical English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a couplet, and follows the form's rhyme scheme: ""abab cdcd efef gg"". The sonnet is written in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions per line, as exemplified in line five (where ""heavenly"" is contracted to two syllables): The next line presents a somewhat unusual"
"Pentina The pentina is an accentual-syllabic poetic form, characterized by the use of five verses of five lines each, with a two-line envoi, for a total of 27 lines. It is similar to the French form, the sestina, which is characterized by six verses of six lines each, with a final 3-line envoi. Its creation in 1995 by American poet and songwriter Leigh Harrison was documented in an article, ""The Joys of the Pentina"" (Medicinal Purposes Literary Review, Vol. II, No. XII, published in 2005). The Pentina form is also described in Lewis Turco's ""The Book of Forms / Odd"
"other; lines 1-14 are a simple description of the horrors of the landscape of battle, while lines 15-17 are a declaration of the meaninglessness of the sacrifice that war requires. The theme of premature death is built into the structure of the poem itself, as lines 1-11 have four stresses, lines 12 through 15 has five or six stresses. This climaxes in line 16, which is the longest in the poem at 17 syllables, and is immediately followed by the shortest line in the poem, at 7 syllables. The abrupt shortening from line 16 to 17 is suggestive of the"
"u sebi rič, koja je ohola"" or in the usage of diminutives (""kladencem vodice""), such as in the song """" and the bugaršćica-type verse, with 15 syllables per line. Poems are usually versified in doubly rhymed dodecasyllable metre of Dubrovnik typed; dodecasyllabic with intransitive rhyme and secondary caesura after the third and the ninth syllable, with main caesure after the sixth syllable (e.g. ""Koji čtiš | sej pjesni ||, molim te | veselo""), with the exception of three poems with 15-syllable meter, and the poem ""Isusu na križu"" written in Marulić-style dodecasyllabic with transitive rhyme. His poems mostly contain love"
"English or Shakespearean sonnet, consisting of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: ""abab cdcd efef gg"". Sonnet 17 is written in iambic pentameter, a form of meter based on five pairs of metrically weak/strong syllabic positions. The sonnet's fourth line exemplifies a regular iambic pentameter: The sixth line exhibits two fairly common variations, a final extrametrical syllable or ""feminine ending"", and the rightward movement of the first ictus (the resulting four-position figure, codice_1, is sometimes referred to as a ""minor ionic""): The twelfth line features a mimetic stretching into two syllables of the"
"perceived as (usually) 3-stress lines. Syllabic poetry can also take a stanzaic form, as in Marianne Moore's poem ""No Swan So Fine"", in which the corresponding lines of each stanza have the same number of syllables. This poem comprises 2 stanzas, each with lines of 7, 8, 6, 8, 8, 5, and 9 syllables respectively. The indented lines rhyme. As in accentual-syllabic verse, there is some flexibility in how one counts syllables. For example, syllables with y- or w-glides may count as one or two syllables depending on the poet's preference. Moore counts ""Dahlias"" (a y-glide) as 2 syllables, and"
"Fib (poetry) Fib is an experimental Western poetry form, bearing similarities to haiku, but based on the Fibonacci sequence. That is, the typical fib and one version of the contemporary Western haiku both follow a strict structure. The typical fib is a six line, 20 syllable poem with a syllable count by line of 1/1/2/3/5/8 - with as many syllables per line as the line's corresponding place in the Fibonacci sequence; the specific form of contemporary Western haiku uses three (or fewer) lines of no more than 17 syllables in total. The only restriction on a Fib is that the"
"Long poem The long poem is a literary genre including all poetry of considerable length. Though the definition of a long poem is vague and broad, the genre includes some of the most important poetry ever written. With more than 220000 (100000 shloka or couplets) verses and about 1.8 million words in total, the ""Mahābhārata"" is the longest epic poem in the world. It is roughly ten times the size of the ""Iliad"" and ""Odyssey"" combined, roughly five times longer than Dante's ""Divine Comedy"", and about four times the size of the ""Ramayana"" and Ferdowsi's ""Shahnameh"". In English, ""Beowulf"" and"
"three other poetic forms: ballad metre, fourteeners, and common-metre double. Like the stanzas of the common metre, each stanza of ""ballad metre"" has four iambic lines. Ballad metre is ""less regular and more conversational"" than common metre. In each stanza, ballad form needs to rhyme only the second and fourth lines, in the form ""A-B-C-B"" (where ""A"" and ""C"" need not rhyme), while common metre typically rhymes also the first and third lines, in the pattern ""A-B-A-B"". Another closely related form is the ""fourteener"", consisting of iambic heptameter couplets: instead of alternating lines of iambic tetrameter and iambic trimeter, rhyming"
"that is cited as a prominent example of the elegy form and of narrative poetry. In its final form, published in 1881 and republished to the present, the poem is divided into sixteen sections referred to as cantos or strophes that range in length from 5 or 6 lines to as many as 53 lines. The poem does not possess a consistent metrical pattern, and the length of each line varies from seven syllables to as many as twenty syllables. Literary scholar Kathy Rugoff says that ""the poem... has a broad scope and incorporates a strongly characterized speaker, a complex"
"Decasyllable Decasyllable (Italian: ""decasillabo"", French: ""décasyllabe"", Serbian: ""десетерац"",""deseterac"" ) is a poetic meter of ten syllables used in poetic traditions of syllabic verse. In languages with a stress accent (accentual verse), it is the equivalent of pentameter with iambs or trochees (particularly iambic pentameter). Medieval French heroic epics (the ""chansons de geste"") were most often composed in 10 syllable verses (from which, the decasyllable was termed ""heroic verse""), generally with a regular caesura after the fourth syllable. (The medieval French romance (""roman"") was however most often written in 8 syllable (or ""octosyllable"") verse.) Use of the 10 syllable line in"
"Doha (poetry) Doha (Hindi: दोहा) is a form of self-contained rhyming couplet in poetry composed in Mātrika metre. This genre of poetry first became common in Apabhraṃśa and was commonly used in Hindi poetry. Among th e most famous dohas are those of Sarahpa, Kabir, Mirabai, Rahim, Tulsidas, Surdas A doha is a couplet consisting of two lines, each of 24 instants (Matras). The rules for distinguishing light and heavy syllables is slightly different from Sanskrit. Each line has 13 instants in first part and 11 instants in the second. The first and third quarters of doha have 13 instants"
"syllabic verse. These include Marianne Moore, Dylan Thomas, Louis Zukofsky, Kenneth Rexroth and Thom Gunn. Some more traditional poets have also used syllabics, including Elizabeth Daryush and Robert Bridges whose ""Testament of Beauty"" is the longest syllabic poem in English. Dylan Thomas's ""In my Craft or Sullen Art"" is an example of syllabic verse in English: it has seven syllables in each line (except the last), but no consistent stress pattern. Because of its consistent short lines marked with end-rhyme, these lines could conceivably be heard as 7-syllable groups by a listener; however, they would be more likely to be"